Our story begins three weeks ago with "Soundwave." What follows, though, is hardly an Australian tale. While Soundwave is indeed the name of an event down under, the following proposition does not concern those responsible for gifting humanity the Melbourne manner of shuffling. Likewise, if any block parties ensue, they are hardly the result of innovative desert landscaping.
The "Soundwave" in question is far less momentous. Having been released three and a half weeks ago, "Soundwave" is prone to be overlooked. The beat clocks just past the paltry 1:00 mark. The song is a mid-tempo kuduro/afro-house track; a product of Firma do Txiga/Txiga Produções member Dj NinOo. Last heard on a collaborative remix with Txiga co-conspirator DJ Wayne, the young NinOo is no stranger to afro-house. Still, "Soundwave" sounds unique. The lack of vocals - a NinOo staple irrespective of genre - is an obvious difference, but hardly the sole reason "Soundwave" stands apart. Listeners must go beyond the underlying kuduro snare and hi-hat, past the drums fills, towards the guitar. Rather than use synths, a rich harmony begins with acoustic guitar and ends with a handful of electric notes. The result, though not Italian, is sufficient spaghetti-kuduro to merit the Morricone stamp of approval.
Leone king aside, the previous track provides a foundation for NinOo. The two songs released a week later are follow in the vein of "Soundwave"
As with its predecessor, "Ninguem É Perfeito" is not immediately impressive. The song is structurally straightforward. Made up of one section, played twice around an interlude, forty cumulative seconds of intro and outro bookend "Ninguem É Perfeito". This is a track, though, which brandishes unparalleled style. NinOo is prone to working with various types of sounds; look no further than this mini-collection with Puto Anderson. But the song below is a mash-up of sorts. NinOo incorporates disparate elements into his beat: afro-house bass, kuduro rhythm, and miscellaneous funan percussion. But it is that final element - the Cape Verdean link - that makes the track so intriguing. Although not admittedly not verified by the author, the sample used bears commonalities with the sounds of Bulimundo and Black Power (both the band and the label); more so than Luanda. A refreshing, authentic track formidable for both dance-floor and living-room enjoyment.
But while "Ninguem É Perfeito" is a valuable asset, "Nem Sei O Que Dizer" is the crown jewel. Comparable to the previous track in length, "Nem Sei O Que Dizer" varies in structure (A-B-C-A-B). Furthermore, "Nem Sei O Que Dizer" has the added benefit of coming last: it can incorporate the best elements of the previous two tracks into its own concept. But the song is hardly derivative, instead showcasing a flare all its own. Rather than remain affixed to a four to the floor bass, the song meets groove expectations and astronomically surpass them. Once again, a snare based kuduro beat is heard; alongside of which are two pieces of percussion filling in the blank spaces. The purpose behind this action, though, is evident. A sense of polyrhythm is given without drowning out the four descending bass notes. Finally, "Nem Sei O Que Dizer" also takes the liberty of sampling what is (assumedly by the author) Cape Verdean funana guitar circa 1980. As with every other element of the song, though, the island nation's influence is taken a step further as a trace of a batuco rhythm is heard between the B & C sections.
Don't let the play counts fool you: two very solid selections
- John Noggle
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